Podcast appearances and mentions of Paul Celan

Zweifellos zählt Ingeborg Bachmann zu den wichtigsten deutschsprachigen Schriftstellerinnen. In ihrem literarischen Werk, ob Prosa, Lyrik, Essay, Hörspiel, Libretti sezierte sie den Gegenstand. Wahrhaftigkeit forderte sie ein, mit jedem Satz, den sie schrieb: „Die Wahrheit ist dem Menschen zumutbar“, so Bachmann. Mit ihren Texten fiel sie auf, auch bei der Gruppe 47, lebte zwischen Klagenfurt, Wien, Zürich, München, Rom, hatte in ihrem Schreiben eine davon geprägte Internationalität und wurde für ihr Werk mit vielen, renommierten Preisen ausgezeichnet, u.a. mit dem Hörspielpreis der Kriegsblinden oder dem Georg-Büchner-Preis. Doch: Wer war Ingeborg Bachmann, die am 25. Juni 1926 in Klagenfurt geboren wurde und tragisch 1973 im Alter von 47 Jahren in Rom verstarb? Wie lebte sie? Was verbirgt sich hinter ihrem schriftstellerischen Werk? Jemand, der sich mit Ingeborg Bachmann und ihren Texten gründlich auseinandergesetzt hat, ist die Literaturkritikerin Insa Wilke. Viele Jahre gehörte sie zum Jurorenteam des Ingeborg-Bachmann-Preises, zuletzt, bis 2023, war sie Juryvorsitzende. Bei NDR Kultur à la carte spricht Insa Wilke mit Katja Weise zum 100. Geburtstag von Ingeborg Bachmann.

Dieses Jahr wäre sie 100 Jahre alt geworden. Andrea Stoll zeigt die Nachkriegsdichterin in ihrer neuen Biografie als Suchende zwischen Vater und Übervätern.

Ingeborg Bachmann gehört zu den großen Stimmen der europäischen Nachkriegsmoderne – und zu den widersprüchlichsten. Aufgewachsen im Schatten von Krieg und Nationalsozialismus, findet die 1926 geborene Kärntnerin früh zur Literatur – und macht das Schreiben zu ihrem existenziellen Projekt. Eine atemberaubende Karriere führt die Autorin von Wien über Paris nach Rom. Beziehungen zu Paul Celan und Max Frisch prägen Bachmanns Leben ebenso wie Brüche, Krisen und Rückzüge. In den 1960er-Jahren gerät das Leben der Schriftstellerin zunehmend aus dem Gleichgewicht. Zum 100. Geburtstag der Schriftstellerin wird das Werk Ingeborg Bachmanns aus verschiedenen Blickwinkeln neu beleuchtet. Sichtbar wird eine Autorin, die bei allem Streben nach Emanzipation in den Verstrickungen ihrer Zeit gefangen blieb – existenziell und künstlerisch.

Kath-Akademie Archiv: Paul Celan zum 100. Geburtstag – Jan-Heiner Tück, Markus May und Dominik Fröhlich versuchen den religiösen Dichter Paul Celan kennenzulernen(Hördauer: 110 Minuten)Viele Kenner der deutschen Lyrik halten Paul Celan für den bedeutendsten Poeten der Zeit nach dem Zweiten Weltkrieg. Gleichwohl steht Celans Dichtung – nach wie vor – in dem Ruf, schwierig und unzugänglich, ja beinahe geheimnisvoll zu sein. Ist Celans Werk also nur ein esoterischer Gegenstand akademischer Diskussionen? Celan selbst wehrte sich gegen solche Verkürzung und forderte von seinen Lesern: Wiederholung, Vertiefung, vor allem: Aufmerksamkeit. „Aufmerksamkeit ist das natürliche Gebet der Seele“ – so zitiert Celan den Philosophen und Oratorianer Nicolas Malebranche und deutet damit an, dass seine Gedichte nur vor dem Hintergrund des Religiösen wirklich zu erhellen sind. Diesem Fingerzeig wollen wir anlässlich von Paul Celans 100. Geburtstag nachgehen und gemeinsam mit unseren Gästen – dem Theologen Jan-Heiner Tück aus Wien und dem Literaturwissenschaftler Markus May aus München – den religiösen Dichter Paul Celan kennenlernen. Das einleitende Referat hält Dominik Fröhlich, Studienleiter der Katholischen Akademie in Bayern.Der abwesende Gott, die Opfer der Shoah, Spuren jüdischer Mystik und Anspielungen auf die Passion des Gekreuzigten werden dabei ebenso im Zentrum stehen wie Celans Auseinandersetzung mit dem Judentum und seiner jüdischen Identität.Unter Anleitung des Sprecherziehers Marcus Boshkow rezitieren die beiden Schauspielerinnen Nora Buzalka und Elna Lindgens einschlägige Gedichte – u.a. Benedicta, Tenebrae, Denk dir, Die Pole – und lassen so den Dichter selbst zu Wort kommen. Besondere Aufmerksamkeit ist also geboten, denn: „wir wissen ja nicht, weißt du, wir wissen ja nicht, was gilt.“ Prof. Dr. phil. Markus May, Institut für deutsche Philologie, LMU München; Prof. Dr. phil. Peter Goßens, Allgemeine und Vergleichende Literaturwissenschaft, Ruhr-Universität Bochum; Jürgen Lehmann, em. Professor für Vergleichende Literaturwissenschaft und Neuere Deutsche Literaturgeschichte, Universität Erlangen-NürnbergDominik Fröhlich: Schwerpunkte Philosophie, Literatur, Psychologie, und Romano Guardini. Mitarbeiter der Katholischen Akademie in Bayern.Jan-Heiner Tück studierte nach dem Abitur am Collegium Augustinianum Gaesdonck von 1987 bis 1994 Katholische Theologie und Germanistik an den Universitäten in Tübingen und München. Anschließend wurde er bei Peter Hünermann in Tübingen zum Dr. theol. promoviert. Wenn Ihnen dieser Beitrag gefallen hat, dann mögen Sie vielleicht auch diesen.  Hörbahn on Stage - live in Schwabing  Literatur und Ihre Autor*innen im Gespräch - besuchen Sie uns!Katholische Akademie in BayernKardinal Wendel HausMandlstraße 23, 80802 MünchenRealisation Uwe Kullnick

Das Verhältnis des Paul Celan und Martin Heidegger ist eines der großen und vieldiskutierten Rätsel der deutschen Nachkriegsgeschichte, hier der Philosoph, der sich für den Nationalsozialismus engagierte, dort der Dichter, dessen Eltern im Holocaust umkamen. Der Essay macht sich auf die Suche in den Archiven, er schaut in die Bibliotheken von Celan und Heidegger, die sich im Deutschen Literaturarchiv in Marbach befinden, deutet Lesespuren, Anstreichungen oder offensichtliche Desinteresse. Eines ist dabei schnell klar, die Begegnung der beiden findet nicht wirklich auf Augenhöhe statt. Wie aber dann? Essay von Frank Hertweck SWR 2026

POST FACE - Émission Littéraire présentée par Caroline Gutmann Elle reçoit Pierre Assouline pour son livre « Tenez bon - Comment des livres nous donnent de l'espoir » aux éditions Robert Laffont À propos du livre : « Tenez bon - Comment des livres nous donnent de l'espoir » paru aux éditions Robert Laffont Tenez bon est un manifeste, qui déploie une conviction essentielle pour Pierre Assouline : les livres nous donnent de l'espoir. Qui n'a jamais été tenté de reculer devant le risque et le danger, ou de céder à la mélancolie ? Face à l'adversité, qu'elle soit intime ou collective, Pierre Assouline sait les livres qui nous donnent de l'espoir. Il suffit d'une page, d'une phrase ou même d'un seul mot pour forger en chacun d'entre nous un socle de résistance. Les paroles d'Albert Camus, Simone Veil, Jean Moulin, Rudyard Kipling ou Paul Celan, sans oublier Job, personnage biblique à la portée universelle, ni la chèvre de Monsieur Seguin, permettent de tenir bon dans les situations difficiles. Tenir bon face à la barbarie ordinaire. Tenir bon dans ses valeurs, et ne pas renoncer à ses convictions, quand tout nous pousse à les trahir. Tenir bon dans la défense absolue de l'État de droit, pilier de la République. Tenir bon chaque fois que l'on croit perdre une forme de dignité. Tenir bon, à condition que cela ne se fasse pas aux dépens de la légèreté... Écrivain et journaliste, Pierre Assouline a publié une quarantaine de livres, notamment des biographies (Cartier-Bresson, Simenon...) et des romans ( Lutetia, Le Nageur et L'Annonce...). Chroniqueur à L'Histoire et enseignant à Sciences Po, il est membre de l'académie Goncourt.

Regisseur Zephyr Brüggen maakt voorstellingen over Paul Celan, Faust en de politieke aspecten van dromen. Van miniatuurtheater tot locatietheater met het bos als enige personage. Programmamaker Senna Felius gaat met Brüggen in gesprek in Plein Publiek.Brüggen studeerde politieke filosofie in Rome en klassieke talen aan de universiteit van Cambridge, waar ze een liefde voor de Grieken én allen die de Grieken omver proberen te werpen aan overhield. In 2021 studeerde ze af van de regieopleiding van Amsterdam, waar haar voorstelling ‘Lizzy & De Bacchanten' bekroond werd met de André Veltkampbeurs. Sindsdien maakt ze haar eigen werk, zoals ‘Het Dromenpaleis' (2025), ‘Ekstasis' (2024), ‘Antifaust' (2022), ‘Vergezichten' (2022), en de monoloog ‘Vecht' (2022) over het toeslagenschandaal bij Likeminds.Plein Publiek is een reeks verdiepende interviews met toonaangevende makers, geselecteerd door onze eigen programmamakers. Verwacht intieme gesprekken met uitzonderlijke stemmen die je aan het denken zetten.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Carolina Vincenti"Fantasmi romeni"La Lepre Edizioniwww.lalepreedizioni.comGli esuli romeni che abitano questo libro sono le figure di un caleidoscopio. Cioran, allo stesso tempo genio e flâneur fallito, Sergio Calibidache, musicista idolatrato ma ostile alle registrazioni, Constantin Brancusi, punta di diamante dell'avanguardia che non amava parlare di sé, Paul Celan, poeta dell'agonia sublime, Panait Istrati, scrittore di novelle incantate, il “Gor'kij dei Balcani”. Con loro Mircea Eliade, il più illustre storico delle religioni del Novecento – ma anche incantevole romanziere e poeta – e Ioan Petru Culiano, sapientissimo gnostico ucciso all'apice della gloria accademica da un misterioso assassino. O ancora, Marta Bibescu, musa proustiana dei salotti della Belle Époque, Dimitri Cantemir, il principe visionario che aveva osservato alla fine del Seicento l'Europa decollare e la mezzaluna del Bosforo declinare ed Elena Ghica, formidabile principessa itinerante, archeologa, botanica, scrittrice e pioniera del pensiero liberale delle élite cosmopolite. Come una matrioska, ogni storia ne racchiude un'altra e contiene i semi della nostalgia di chi lascia il proprio mondo per addentrarsi in una nuova vita.Carolina Vincenti,nata a Bucarest e cresciuta a Beirut, si è laureata in Storia dell'arte a Roma, città in cui vive e che racconta da decenni nelle diverse lingue che conosce. Autrice di numerosi volumi dedicati ai palazzi romani, ha curato mostre per il Musée du Luxembourg in Francia e ha collaborato con il M.I.U.R. occupandosi di ricerca applicata ai beni culturali.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Bianca Stone talks with Mathias Svalina and Ben Pease about two poems, Paul Celan’s posthumously published book Schneepart, “I HEAR THE AXE HAS FLOWERED,” and “[God Talks to Each of Us as He Makes Us]”. https://www.mathiassvalina.com

Der ukrainische Autor Serhij Zhadan im Gespräch mit Natascha Freundel Deutsch-Ukrainisch ohne Overvoice. Deutsche Fassung siehe Podcast "Im Krieg entsteht eine neue Literatur." (Serhij Zhadan ) „Die Dichtung ist und bleibt eine Form der Medizin. Nein, heilen kann sie nicht, aber sie kann die Hoffnung zurückgeben“, schreibt der ukrainische Schriftsteller, Musiker und Soldat Serhij Zhadan in seinem Gedichtband „Chronik des eigenen Atems“. In den zwölf Jahren des russischen Kriegs gegen die Ukraine, der in den vergangenen vier Jahren zu einem Vernichtungskrieg gegen das ganze Land geworden ist, hat Zhadan eine neue literarische Sprache gefunden. Eine Literatur, die von den Kriegsfolgen und von der Resilienz der Ukrainer erzählt. Schreiben, Singen und Übersetzen sind Formen der Selbsterhaltung für den wohl wichtigsten ukrainischen Autor der Gegenwart. Auch der erste Armeesender der Ukraine, "Radio Chartija", spielt dabei eine wichtige Rolle. Ein Gedankenaustausch über Literatur im Krieg, über Paul Celan, Bruno Schulz und Bertolt Brecht, über Kinder und unsere Zukunft. Serhij Zhadan ist der derzeit erfolgreichste Schriftsteller, Übersetzer und Musiker der Ukraine. Im Frühjahr 2024 ist er der „Chartija“-Brigade der ukrainischen Nationalgarde beigetreten und leitet dort das von ihm aufgebaute „Radio Chartija“. Auf Deutsch erscheint sein Werk im Suhrkamp Verlag, zuletzt „Keiner wird um etwas bitten“ (2025). 2022 erhielt er den Friedenspreis des Deutschen Buchhandels, 2025 den Österreichischen Staatspreis für Europäische Literatur. Kapitel: 00:00:00 Intro 00:02:08 Literatur und Hoffnung im Krieg 00:06:26 Lage in Charkiw 00:10:53 Widerstandgeist und Armee in der Ukraine 00:14:04 Entstehung einer neuen Kultur und Literatur 00:21:00 Kinder, Konzerte und Zukunft 00:24:41 Paul Celan und Bruno Schulz 00:30:15 Von Russisch zu Ukrainisch 00:31:38 Bertolt Brecht und Rilke 00:35:23 Radio an der Front 00:39:23 Europas Unterstützung der Ukraine 00:42:34 Der zweite Gedanken von Serhij Zhadan 00:43:56 Outro Mehr Infos und Fotos s. https://www.radiodrei.de/derzweitegedanke Schreiben Sie uns gern direkt an derzweitegedanke@radiodrei.de

Der ukrainische Autor Serhij Zhadan im Gespräch mit Natascha Freundel Deutsche Fassung. Übersetzung und Overvoice: Sofija Onufriv "Im Krieg entsteht eine neue Literatur." (Serhij Zhadan ) „Die Dichtung ist und bleibt eine Form der Medizin. Nein, heilen kann sie nicht, aber sie kann die Hoffnung zurückgeben“, schreibt der ukrainische Schriftsteller, Musiker und Soldat Serhij Zhadan in seinem Gedichtband „Chronik des eigenen Atems“. In den zwölf Jahren des russischen Kriegs gegen die Ukraine, der in den vergangenen vier Jahren zu einem Vernichtungskrieg gegen das ganze Land geworden ist, hat Zhadan eine neue literarische Sprache gefunden. Eine Literatur, die von den Kriegsfolgen und von der Resilienz der Ukrainer erzählt. Schreiben, Singen und Übersetzen sind Formen der Selbsterhaltung für den wohl wichtigsten ukrainischen Autor der Gegenwart. Auch der erste Armeesender der Ukraine, "Radio Chartija", spielt dabei eine wichtige Rolle. Ein Gedankenaustausch über Literatur im Krieg, über Paul Celan, Bruno Schulz und Bertolt Brecht, über Kinder und unsere Zukunft. Serhij Zhadan ist der derzeit erfolgreichste Schriftsteller, Übersetzer und Musiker der Ukraine. Im Frühjahr 2024 ist er der „Chartija“-Brigade der ukrainischen Nationalgarde beigetreten und leitet dort das von ihm aufgebaute „Radio Chartija“. Auf Deutsch erscheint sein Werk im Suhrkamp Verlag, zuletzt „Keiner wird um etwas bitten“ (2025). 2022 erhielt er den Friedenspreis des Deutschen Buchhandels, 2025 den Österreichischen Staatspreis für Europäische Literatur. Kapitel: 00:00:00 Intro 00:02:08 Literatur und Hoffnung im Krieg 00:06:26 Lage in Charkiw 00:10:53 Widerstandgeist und Armee in der Ukraine 00:14:04 Entstehung einer neuen Kultur und Literatur 00:21:00 Kinder, Konzerte und Zukunft 00:24:41 Paul Celan und Bruno Schulz 00:30:15 Von Russisch zu Ukrainisch 00:31:38 Bertolt Brecht und Rilke 00:35:23 Radio an der Front 00:39:23 Europas Unterstützung der Ukraine 00:42:34 Der zweite Gedanken von Serhij Zhadan 00:43:56 Outro Mehr Infos und Fotos s. https://www.radiodrei.de/derzweitegedanke Schreiben Sie uns gern direkt an derzweitegedanke@radiodrei.de

Charles Bernstein, Ariel Resnikoff, and Nicole Peyrafitte join Al Filreis for a special live taping in the Writers House's Arts Cafe to discuss two poems by recently departed poets Pierre Joris ("The word, the mawqif") and Jerome Rothenberg ("A letter to Paul Celan, in memory").

"This composition is based on an ambisonic recording made inside the Sauna at Auschwitz. This was the ‘bathhouse' where new arrivals from the trains arriving at the camp were stripped of all their belongings, valuables and clothes, registered and tattooed with a number, then showered, shaved, disinfected and re-clothed. The building had a “clean” and a “dirty” side, and machines were used to steam and delouse clothing. Existing prisoners were also sometimes sent to the Sauna in attempts to control pests and disease in the camp. "As Andrzej Strzelecki describes in the Auschwitz-Birkenau Museum book about the Auschwitz Sauna, the purpose of this place had little to do with caring for prisoners' hygiene. Instead, it acted as an instrument in the Nazis' system of mass destruction and theft of the property of groups targeted in pursuit of their racist ideology. The sauna was also a site of ritual humiliation, dehumanisation and control, stripping people of their dignity. Most new arrivals believed they were being sent to labour camps or resettled to start new lives. Those “selected” on the train ramp never made it to the Sauna, however. They were taken directly to the gas chambers. "The history of this place and the suffering of the people who passed through it deeply shaped my response to the field recording. In the composition I aimed to evoke the disorientation, disbelief, fear and oppressive control that must have been felt there and the mechanistic, industrialised systems that enabled such extensive dehumanisation. Given the nature of the subject I focused on the texture, sounds and voices in the recording and added additional sounds and instruments. The title, Black Milk, comes from Holocaust survivor Paul Celan's poem, Todesfuge (Death Fugue)." Auschwitz sauna soundscape reimagined by Laura Hills, from a recording by Anders Vinjar.

Modern scholarship identifies a series of “temporal turns” in Jewish studies stemming from the early 1900s, 1945, and the present notion that “time is running out.” Homo Temporalis: German-Jewish Thinkers on Time follows thinkers who watched catastrophes unfold but imagined a new world rising from their ashes. Martin Buber, Walter Benjamin, Hannah Arendt, and Paul Celan shaped our understanding of the Humanities by dedicating their thought to temporal concepts such as Living-presence (Erlebnis), Now-time, Natality, and Breath-turn. Their message was a necessary one for those interested in the modern study of religion, critical thinking, political thought, and post-1945 literature. They all shared a deep understanding of time as the most important component of modern life and “ontological egalitarianism.”

Ahmad Almallah on Gaza, the moon, and the companionship of Paul Celan.

W tym nagraniu zobaczą Państwo spotkanie, w którym KRYSTYNA DĄBROWSKA opowiadała o wybranych książkach poetyckich oraz własnych premierowych "Wierszach wybranych"! 10 INSPIRUJĄCYCH KSIĄŻEK POETYCKICHORAZSWOJE "WIERSZE WYBRANE"PRZEDSTAWIA KRYSTYNA DĄBROWSKANagradzana poetka i tłumaczka wierszy mówi o tych tomach innych twórców poezji ze świata, przetłumaczonych albo jeszcze nie przekładanych na polski, które od lat ją inspirują i pozostają ważne. Od Paula Celana, przez Elizabeth Bishop i Anne Carson, po Kim Moore oraz Jehudę Amichaja.Poznaj osobisty wybór poetki i dowiedz się, jak twórczość innych poetek i poetów przenika do jej wierszy.Książki wybrane przez Krystynę Dąbrowską:-"Owoce wojny" Jaryna Czornohuz-"Koniec sezonu pomarańczy" Jehuda Amichaj-"Sztuka opadania/The Art of Falling" Kim Moore-"Nox" Anne Carson-"Adrenalin" Ghayath Almadhoun-"Blues o śnieżnym poranku" Charles Simic-"Santarém" Elizabeth Bishop-"33 wiersze" Elizabeth Bishop-"Utwory wybrane" Paul Celan-"Literatura na świecie 5-6" Kawafis-"Czekając na barbarzyńców" Konstandinos Kawafis-"Księga niepokoju" Fernando Pessoa-"W obliczu wojny" Maksym Krywcow-"Obcy" Jaryna BurbanKRYSTYNA DĄBROWSKA – urodzona w 1979 roku. Poetka, eseistka, tłumaczka. Autorka książek poetyckich:Wiersze Wybrane (2025),Miasto z indu (2022),Ścieżki dźwiękowe (2018),Czas i przesłona (2014),Białe krzesła (2012)i Biuro podróży (2006).Laureatka Nagrody Kościelskich (2013), Nagrody im. Wisławy Szymborskiej (2013) i Nagrody Literackiej m. st. Warszawy (2019). Jej wiersze były tłumaczone na ponad dwadzieścia języków; za wiersz „Biuro podróży”/”Travel Agency” w przekładzie Antonii Lloyd-Jones otrzymała Pushcart Prize (2024).Książkowe wybory jej wierszy ukazały się po włosku, niemiecku, szwedzku, portugalsku i angielsku; książka w angielskim przekładzie, Tideline (Zephyr Press 2022), była nominowana do Derek Walcott Poetry Prize i National Translation Award in Poetry.Dąbrowska tłumaczyła m.in. poezję Louise Glück (Dziki irys, 2024; Zimowe przepisy naszej wspólnoty, 2022; Ararat, 2021), Nuali Ní Dhomhnaill (Cierń głogu, 2021), W. C. Williamsa, Thoma Gunna, Charlesa Simica i Kim Moore, a także listy Elizabeth Bishop i Roberta Lowella.O WIERSZASZ WYBRANYCHOto ktoś, kto chadza własnymi drogami i wiersze pisuje tylko wtedy, gdy odczuwa tego nieodpartą konieczność – pisał Jan Gondowicz. - Zadaniem tej poezji jest uwewnętrznianie. Tym się ono różni od kolekcjonowania wrażeń (czegoś na kształt „pocztówek” z podróży, podpatrzonych „scenek” bądź szkiców, jakie wykonują malarze), że stanowi narzędzie penetracji własnego życia duchowego, rozpoznania, kim się jest i dlaczego. Czytelnik może uczestniczyć w tym procesie i myśleć o tym swoje. A właściwie nie tylko myśleć, lecz i dzielić stany emocjonalne: zachwyt i grozę, uśmiech, czasem zawroty głowy. Oto, czemu nie sposób nazwać Krystyny Dąbrowskiej estetką. Za dużo wie, a jeszcze więcej domyśla się o naturze ludzkiej. A przy tym pozostaje lekka, pozornie oddana drobiazgom, wolna od patosu, jakim lubi się reklamować pesymizm. To wysoki kunszt.To retransmisja jednego z wielu wydarzeń, które odbywają się na scenach Big Book Cafe. Chcesz mieć dostęp do wszystkich i oglądać o dowolnej porze? Dołącz do Patronek i Patronów Fundacji "Kultura nie boli" i korzystaj ze wszystkiego, co robimy z miłości do czytania. Spróbuj! https://patronite.pl/bigbookcafe

durée : 00:03:52 - Le Pourquoi du comment : philo - par : Frédéric Worms - Quel sens peut avoir un poème dans une histoire d'amour marquée par la guerre ? Que dit un vers là où les mots échouent ? Et comment écrire à celle qu'on aime en portant la mémoire des morts ? - réalisation : Louise André

Since the late 1980s, Colombian artist Doris Salcedo has made work in response to conflict and political violence, drawing on the testimonies of victims to create metaphorical sculptures and installations about trauma, loss and survival. She is now recognised as one of the most important living artists, with work shown in museums and galleries around the world, including in the turbine hall of Tate Modern in 2007. Doris Salcedo is the 2025 recipient of the Whitechapel Gallery's prestigious Art Icon award, in recognition of her ‘profound contribution to the artistic landscape'. She talks to John Wilson about the first time she saw Goya's painting The Third of May 1808, also known as The Executions of the Third of May. The painting depicts the brutal aftermath of the Dos de Mayo Uprising in Madrid, during the Peninsular War, in which Spanish civilians were executed by French soldiers. Salcedo recalls how this painting showed her what a work of art could accomplish. It was seeing this painting that inspired her artistic purpose of trying to reveal the true cost of war in her work. Salcedo also explains how the poetry of Paul Celan, the French-Romanian poet and Holocaust survivor has been a significant influence on her and her art , and how the testimonies of the Colombian victims of violence have defined her work.Producer: Edwina PitmanArchive used: Paul Celan, Psalm, read by Robert Rietty

In this episode we are listening to critically acclaimed writer Yoko Tawada and interdisciplinary artist Tice Cin discuss Yoko's novel Spontaneous Acts. which was recorded live in the bookshop. In Spontaneous Acts, Patrik is a literary researcher living in Berlin, a city just coming back to life after lockdown. Though his beloved opera houses are open again, Patrik cannot leave the house and hardly manages to get out of bed.He is supposed to give a paper at a conference in Paris, on the poetry collection Threadsuns by Paul Celan, but he can't get past the first question on the registration form: ‘What is your nationality?' As Patrik attempts to find a connection in a world that constantly overwhelms him, he meets a mysterious stranger. The man's name is Leo-Eric Fu, and somehow he already knows Patrik.Yoko Tawada's mesmerising novel unfolds like a lucid dream in which the solace of friendship, reading, conversation, music – of seeing and being seen – is examined and celebrated. Spontaneous Acts reaches out to all of us who find meaning and even obsession in the words of those before us.Libreria wishes to thank Dialogue Books and the Japan Foundation, who kindly supported Yoko's visit to the UK in 2024.

This episode we are thrilled to be joined by the artist Jessica Rankin. Born in Sydney in 1971, Jessica is known for her vibrant and expansive exploration of the processes of memory, intuition, and interpretation.  For the first part of her career, Jessica produced textile works that adopted methods historically identified with feminine pursuits—embroidery and needlework. She created works featuring 'mental maps' that combined word and image to highlight her ongoing project: a hybrid weaving of personal, fictional and historical voices. In 2016, Jessica turned exclusively to painting, combining gestural abstraction with the sewn mark on raw canvas. These works often take their inspiration from the literature of marginalised voices: of women writers, gay writers or writers of colour. They have included lines of poetry by writers who have inspired Jessica's work, such as Etel Adnan, Paul Celan, and Carl Phillips. Throughout, Jessica has continued to adopt John Cage's adage to ‘be unfamiliar to yourself,” creating a rich and compelling practice that spans multiple media. Jessica has been the subject of numerous solo and group exhibitions including the Palazzo Grassi in Venice, the Whitworth Art Gallery, Manchester, UK, and MoMA PS1 here in New York. Last year, she had a solo show at White Cube in Hong Kong. Jessica is represented by White Cube. https://www.whitecube.com/artists/jessica-rankin Some artists and writers discussed in this episode: David Hammons Coco Fusco Martha Rosler Glenn Ligon Virginia Woolf Olivia Laing Julie Mehretu Lawrence Chua Paul Pfeiffer

Homo Temporalis: German Jewish Thinkers on Time (Cornell UP, 2025) tells the story of a group of twentieth-century Jewish intellectuals who grappled ceaselessly with concepts of time and temporality. The project brings into dialogue key thinkers, including the philosopher of religion Martin Buber, the critical theorist Walter Benjamin, the political scientist Hannah Arendt, and the poet Paul Celan, who stand at the center of our contemporary understanding of religion, critical theory, politics, and literature. All four, and many colleagues around them who identified with their approaches saw time—not space—as the key to their individual and collective experience, rejecting definitions of self based on borders, territory, or geographic/national origin. Following their path teaches us about three “temporal turns”: In the early 1900s, between1933-1945, and ours, in the early 2000s. Nitzan Lebovic is a professor of history and the Apter Chair of Holocaust Studies and Ethical Values at Lehigh University. Nitzan is the author of The Philosophy of Life and Death: Ludwig Klages and the Rise of a Nazi Biopolitics (2013), Zionism and Melancholy: The short Life of Israel Zarchi (2019), and Homo Temporalis: Martin Buber, Walter Benjamin, Hannah Arendt, and Paul Celan about Time (2025). Nitzan is the co-editor of Catastrophes: The History and Theory of an Operative Concept (2014) and Nihilism and the State of Israel: New Critical Perspectives (2014), and edited special issues about political theology, nihilism, and biopolitics. His new project is titled “The history of complicity, 1945- Present.” Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Homo Temporalis: German Jewish Thinkers on Time (Cornell UP, 2025) tells the story of a group of twentieth-century Jewish intellectuals who grappled ceaselessly with concepts of time and temporality. The project brings into dialogue key thinkers, including the philosopher of religion Martin Buber, the critical theorist Walter Benjamin, the political scientist Hannah Arendt, and the poet Paul Celan, who stand at the center of our contemporary understanding of religion, critical theory, politics, and literature. All four, and many colleagues around them who identified with their approaches saw time—not space—as the key to their individual and collective experience, rejecting definitions of self based on borders, territory, or geographic/national origin. Following their path teaches us about three “temporal turns”: In the early 1900s, between1933-1945, and ours, in the early 2000s. Nitzan Lebovic is a professor of history and the Apter Chair of Holocaust Studies and Ethical Values at Lehigh University. Nitzan is the author of The Philosophy of Life and Death: Ludwig Klages and the Rise of a Nazi Biopolitics (2013), Zionism and Melancholy: The short Life of Israel Zarchi (2019), and Homo Temporalis: Martin Buber, Walter Benjamin, Hannah Arendt, and Paul Celan about Time (2025). Nitzan is the co-editor of Catastrophes: The History and Theory of an Operative Concept (2014) and Nihilism and the State of Israel: New Critical Perspectives (2014), and edited special issues about political theology, nihilism, and biopolitics. His new project is titled “The history of complicity, 1945- Present.” Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Homo Temporalis: German Jewish Thinkers on Time (Cornell UP, 2025) tells the story of a group of twentieth-century Jewish intellectuals who grappled ceaselessly with concepts of time and temporality. The project brings into dialogue key thinkers, including the philosopher of religion Martin Buber, the critical theorist Walter Benjamin, the political scientist Hannah Arendt, and the poet Paul Celan, who stand at the center of our contemporary understanding of religion, critical theory, politics, and literature. All four, and many colleagues around them who identified with their approaches saw time—not space—as the key to their individual and collective experience, rejecting definitions of self based on borders, territory, or geographic/national origin. Following their path teaches us about three “temporal turns”: In the early 1900s, between1933-1945, and ours, in the early 2000s. Nitzan Lebovic is a professor of history and the Apter Chair of Holocaust Studies and Ethical Values at Lehigh University. Nitzan is the author of The Philosophy of Life and Death: Ludwig Klages and the Rise of a Nazi Biopolitics (2013), Zionism and Melancholy: The short Life of Israel Zarchi (2019), and Homo Temporalis: Martin Buber, Walter Benjamin, Hannah Arendt, and Paul Celan about Time (2025). Nitzan is the co-editor of Catastrophes: The History and Theory of an Operative Concept (2014) and Nihilism and the State of Israel: New Critical Perspectives (2014), and edited special issues about political theology, nihilism, and biopolitics. His new project is titled “The history of complicity, 1945- Present.” Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

Homo Temporalis: German Jewish Thinkers on Time (Cornell UP, 2025) tells the story of a group of twentieth-century Jewish intellectuals who grappled ceaselessly with concepts of time and temporality. The project brings into dialogue key thinkers, including the philosopher of religion Martin Buber, the critical theorist Walter Benjamin, the political scientist Hannah Arendt, and the poet Paul Celan, who stand at the center of our contemporary understanding of religion, critical theory, politics, and literature. All four, and many colleagues around them who identified with their approaches saw time—not space—as the key to their individual and collective experience, rejecting definitions of self based on borders, territory, or geographic/national origin. Following their path teaches us about three “temporal turns”: In the early 1900s, between1933-1945, and ours, in the early 2000s. Nitzan Lebovic is a professor of history and the Apter Chair of Holocaust Studies and Ethical Values at Lehigh University. Nitzan is the author of The Philosophy of Life and Death: Ludwig Klages and the Rise of a Nazi Biopolitics (2013), Zionism and Melancholy: The short Life of Israel Zarchi (2019), and Homo Temporalis: Martin Buber, Walter Benjamin, Hannah Arendt, and Paul Celan about Time (2025). Nitzan is the co-editor of Catastrophes: The History and Theory of an Operative Concept (2014) and Nihilism and the State of Israel: New Critical Perspectives (2014), and edited special issues about political theology, nihilism, and biopolitics. His new project is titled “The history of complicity, 1945- Present.” Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

Homo Temporalis: German Jewish Thinkers on Time (Cornell UP, 2025) tells the story of a group of twentieth-century Jewish intellectuals who grappled ceaselessly with concepts of time and temporality. The project brings into dialogue key thinkers, including the philosopher of religion Martin Buber, the critical theorist Walter Benjamin, the political scientist Hannah Arendt, and the poet Paul Celan, who stand at the center of our contemporary understanding of religion, critical theory, politics, and literature. All four, and many colleagues around them who identified with their approaches saw time—not space—as the key to their individual and collective experience, rejecting definitions of self based on borders, territory, or geographic/national origin. Following their path teaches us about three “temporal turns”: In the early 1900s, between1933-1945, and ours, in the early 2000s. Nitzan Lebovic is a professor of history and the Apter Chair of Holocaust Studies and Ethical Values at Lehigh University. Nitzan is the author of The Philosophy of Life and Death: Ludwig Klages and the Rise of a Nazi Biopolitics (2013), Zionism and Melancholy: The short Life of Israel Zarchi (2019), and Homo Temporalis: Martin Buber, Walter Benjamin, Hannah Arendt, and Paul Celan about Time (2025). Nitzan is the co-editor of Catastrophes: The History and Theory of an Operative Concept (2014) and Nihilism and the State of Israel: New Critical Perspectives (2014), and edited special issues about political theology, nihilism, and biopolitics. His new project is titled “The history of complicity, 1945- Present.” Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Homo Temporalis: German Jewish Thinkers on Time (Cornell UP, 2025) tells the story of a group of twentieth-century Jewish intellectuals who grappled ceaselessly with concepts of time and temporality. The project brings into dialogue key thinkers, including the philosopher of religion Martin Buber, the critical theorist Walter Benjamin, the political scientist Hannah Arendt, and the poet Paul Celan, who stand at the center of our contemporary understanding of religion, critical theory, politics, and literature. All four, and many colleagues around them who identified with their approaches saw time—not space—as the key to their individual and collective experience, rejecting definitions of self based on borders, territory, or geographic/national origin. Following their path teaches us about three “temporal turns”: In the early 1900s, between1933-1945, and ours, in the early 2000s. Nitzan Lebovic is a professor of history and the Apter Chair of Holocaust Studies and Ethical Values at Lehigh University. Nitzan is the author of The Philosophy of Life and Death: Ludwig Klages and the Rise of a Nazi Biopolitics (2013), Zionism and Melancholy: The short Life of Israel Zarchi (2019), and Homo Temporalis: Martin Buber, Walter Benjamin, Hannah Arendt, and Paul Celan about Time (2025). Nitzan is the co-editor of Catastrophes: The History and Theory of an Operative Concept (2014) and Nihilism and the State of Israel: New Critical Perspectives (2014), and edited special issues about political theology, nihilism, and biopolitics. His new project is titled “The history of complicity, 1945- Present.” Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Elisa Biagini"L'intravisto"Einaudi Editorewww.einaudi.itCoi visi bianchicome lichenifacciamo nodiall'erba primadi scenderenel fumo e ilsuo ferro,gli scaliniche ci affettanole ombre.L'intravisto è ciò che osserviamo con difficoltà, per frammenti, «con l'occhio appoggiato alla crepa». Un impedimento che nei versi di Elisa Biagini diventa una forza per conoscere meglio se stessi e l'altro da sé, uno sguardo obliquo che apre orizzonti in cui situare i ricordi. E piú fortemente la poetessa percepisce l'altrove, piú sembra toccare il profondo di sé, per guardarsi veramente e riorientarsi: «ripesco la bussola, sollevo lo specchio». Con l'urtarsi e l'infittirsi dei significati intorno a immagini ricorrenti (animali, sassi), «facendo l'orlo al silenzio», dall'ombra della memoria e da «quanto è in fondo allo specchio» traluce «il brusio dell'impensato». A poco a poco affiorano le istantanee di un dialogo con un «tu»: una comunicazione difficile, fatta di frasi interrotte, silenzi, assenze. Quella di Elisa Biagini è una poesia che sta nel mondo in modo dialettico, cogliendone il conflitto e dandogli voce, raccontando ad occhi aperti «quanto rimasto dalla cancellatura».Elisa Biagini è nata a Firenze nel 1970. Presso Einaudi ha pubblicato le raccolte: L'ospite (2004), Nel bosco (2007), Da una crepa (2014), Filamenti (2020) e L'intravisto (2024). Ha curato e tradotto l'antologia Nuovi poeti americani (Einaudi 2006) e Non separare il no dal sí (Ponte alle Grazie 2020), una scelta di poesie di Paul Celan. Con Antonella Anedda ha pubblicato Poesia come ossigeno. Per un'ecologia della parola (chiarelettere 2021). Sue poesie sono tradotte in piú di quindici lingue in volumi e antologie.www.elisabiagini.itIL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

https://susanbernofsky.com/ Get the book from  https://www.ndbooks.com/book/paul-celan-and-the-trans-tibetan-angel/ in the US https://www.dialoguebooks.co.uk/titles/yoko-tawada/spontaneous-acts/9780349704234/ in the UK  Gateway books / Authors  Robert Walser  Shirley Hazzard Angela Carter  Barbra Comyns Nabokov  Handke  Kobo Abe  Current reads/Looking forward to  The Empusium - Olga Tokarczuk Scholastique Mukasonga - Sister Deborah  Sayaka Murata - new novel  Samanta Schweblin Yoko Tawada - Suggested in the Stars  Desert Island Books  Uwe Johnson - Anniversaries Yoko Tawada - The Naked Eye 

"Der Celan-Preis ist schon eine Hausnummer." Thomas Weiler freut sich über die Auszeichnung für seine Übersetzung von Alhierd Bacharevics Roman "Europas Hunde". Im Interview erzählt er, was ihn am Belarussischen fasziniert und was das Buch ausmacht. Weiler, Thomas www.deutschlandfunkkultur.de, Lesart

"Der Celan-Preis ist schon eine Hausnummer." Thomas Weiler freut sich über die Auszeichnung für seine Übersetzung von Alhierd Bacharevics Roman "Europas Hunde". Im Interview erzählt er, was ihn am Belarussischen fasziniert und was das Buch ausmacht. Weiler, Thomas www.deutschlandfunkkultur.de, Lesart

In this episode, I speak with Marc Redfield, professor of Comparative Literature, English, and German Studies at Brown University about his most recent work, Shibboleth: Judges, Derrida, Celan, published in 2020 by Fordham University Press. In this short but intricate and dense work, Redfield investigates the “shibboleth”—the word, if it is one, and the concept—from its roots in the Book of Judges to the contemporary global regimes of technics that are defined by constantly proliferating technologies and practices of encryption, decryption, exclusion, and inclusion.  At the heart of this book is an insightful interpretation of two poems by the Romanian-Jewish, German-language poet Paul Celan. Redfield places Celan into a polyphonic dialogue with others who invoked “the” shibboleth: the French philosopher Jacques Derrida, William Faulkner, and the Colombian visual artist Doris Salcedo (whose 2007 installation at the Tate Modern, which bears the title Shibboleth, provides the cover image for the book). In doing so, Redfield pursues the track of shibboleth: a word to which no language can properly lay claim, a word that is both less and more than a word, that signifies both the epitome and ruin of border control technology, and that thus, despite its violent origin and role in the Biblical story, offers a locus of poetico-political affirmation. Britt Edelen is a Ph.D. student in English at Duke University. He focuses on modernism and the relationship(s) between language, philosophy, and literature. You can find him on Twitter or send him an email. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode, I speak with Marc Redfield, professor of Comparative Literature, English, and German Studies at Brown University about his most recent work, Shibboleth: Judges, Derrida, Celan, published in 2020 by Fordham University Press. In this short but intricate and dense work, Redfield investigates the “shibboleth”—the word, if it is one, and the concept—from its roots in the Book of Judges to the contemporary global regimes of technics that are defined by constantly proliferating technologies and practices of encryption, decryption, exclusion, and inclusion.  At the heart of this book is an insightful interpretation of two poems by the Romanian-Jewish, German-language poet Paul Celan. Redfield places Celan into a polyphonic dialogue with others who invoked “the” shibboleth: the French philosopher Jacques Derrida, William Faulkner, and the Colombian visual artist Doris Salcedo (whose 2007 installation at the Tate Modern, which bears the title Shibboleth, provides the cover image for the book). In doing so, Redfield pursues the track of shibboleth: a word to which no language can properly lay claim, a word that is both less and more than a word, that signifies both the epitome and ruin of border control technology, and that thus, despite its violent origin and role in the Biblical story, offers a locus of poetico-political affirmation. Britt Edelen is a Ph.D. student in English at Duke University. He focuses on modernism and the relationship(s) between language, philosophy, and literature. You can find him on Twitter or send him an email. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

In this episode, I speak with Marc Redfield, professor of Comparative Literature, English, and German Studies at Brown University about his most recent work, Shibboleth: Judges, Derrida, Celan, published in 2020 by Fordham University Press. In this short but intricate and dense work, Redfield investigates the “shibboleth”—the word, if it is one, and the concept—from its roots in the Book of Judges to the contemporary global regimes of technics that are defined by constantly proliferating technologies and practices of encryption, decryption, exclusion, and inclusion.  At the heart of this book is an insightful interpretation of two poems by the Romanian-Jewish, German-language poet Paul Celan. Redfield places Celan into a polyphonic dialogue with others who invoked “the” shibboleth: the French philosopher Jacques Derrida, William Faulkner, and the Colombian visual artist Doris Salcedo (whose 2007 installation at the Tate Modern, which bears the title Shibboleth, provides the cover image for the book). In doing so, Redfield pursues the track of shibboleth: a word to which no language can properly lay claim, a word that is both less and more than a word, that signifies both the epitome and ruin of border control technology, and that thus, despite its violent origin and role in the Biblical story, offers a locus of poetico-political affirmation. Britt Edelen is a Ph.D. student in English at Duke University. He focuses on modernism and the relationship(s) between language, philosophy, and literature. You can find him on Twitter or send him an email. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In this episode, I speak with Marc Redfield, professor of Comparative Literature, English, and German Studies at Brown University about his most recent work, Shibboleth: Judges, Derrida, Celan, published in 2020 by Fordham University Press. In this short but intricate and dense work, Redfield investigates the “shibboleth”—the word, if it is one, and the concept—from its roots in the Book of Judges to the contemporary global regimes of technics that are defined by constantly proliferating technologies and practices of encryption, decryption, exclusion, and inclusion.  At the heart of this book is an insightful interpretation of two poems by the Romanian-Jewish, German-language poet Paul Celan. Redfield places Celan into a polyphonic dialogue with others who invoked “the” shibboleth: the French philosopher Jacques Derrida, William Faulkner, and the Colombian visual artist Doris Salcedo (whose 2007 installation at the Tate Modern, which bears the title Shibboleth, provides the cover image for the book). In doing so, Redfield pursues the track of shibboleth: a word to which no language can properly lay claim, a word that is both less and more than a word, that signifies both the epitome and ruin of border control technology, and that thus, despite its violent origin and role in the Biblical story, offers a locus of poetico-political affirmation. Britt Edelen is a Ph.D. student in English at Duke University. He focuses on modernism and the relationship(s) between language, philosophy, and literature. You can find him on Twitter or send him an email. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biblical-studies

Susan Bernofsky is an American translator of German-language literature and author. She is best known for bringing the Swiss writer Robert Walser to the attention of the English-speaking world translating many of his books and writing his biography. She has also translated several books by Jenny Erpenbeck and Yoko Tawada. Her prizes for translation include the Helen and Kurt Wolff Translation Prize, Oxford-Weidenfeld Translation Prize. In 2017 she won the Warwick Prize for Women in Translation for her translation of Memoirs of a Polar Bear by Yoko Tawada.In this episode, she spoke about her views on translations, the author Yoko Tawada and her translation of Tawada's novel 'Spontaneous Acts' released in July 2024. 'Spontaneous Acts' written by Tawada in Berlin during the first year of the COVID-19 pandemic, pays homage to Paul Celan, a longstanding influence on her work. Arguably the most important German-language poet of the post-World War II era, Celan is known for the diamond-hard density of his lyrical lines, estranging words from their inherited meanings, and thereby opening up new avenues of association and interpretation. You can read Yoko Tawada's article on Paul Celan's Poems written in 2013, via the link in the show notes. https://www.thewhitereview.org/feature/celan-reads-japanese/To buy the book 'Spontaneous Acts' - a link is provided in the show notes. https://tinyurl.com/susanyokoPlease follow and review the Harshaneeyam Podcast on Spotify and Apple apps.* For your Valuable feedback on this Episode - Please click the link below.https://tinyurl.com/4zbdhrwrHarshaneeyam on Spotify App –https://harshaneeyam.captivate.fm/onspotHarshaneeyam on Apple App – https://harshaneeyam.captivate.fm/onapple*Contact us - harshaneeyam@gmail.com ***Disclaimer: The views and opinions expressed by Interviewees in interviews conducted by Harshaneeyam Podcast are those of the Interviewees and do not necessarily reflect the official policy or position of Harshaneeyam Podcast. Any content provided by Interviewees is of their opinion and is not intended to malign any religion, ethnic group, club, organization, company, individual, or anyone or anything.This podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrpChartable - https://chartable.com/privacy

Amanda Holmes reads Paul Celan's “Death Fugue,” translated from the German by Pierre Joris. Have a suggestion for a poem by a (dead) writer? Email us: podcast@theamericanscholar.org. If we select your entry, you'll win a copy of a poetry collection edited by David Lehman. This episode was produced by Stephanie Bastek and features the song “Canvasback” by Chad Crouch. Hosted on Acast. See acast.com/privacy for more information.

Especial Sant Jordi 2024 amb tota la fam

Especial Sant Jordi 2024 amb tota la fam

Despedimos el año en compañía del editor Eduardo Riestra, que acaba de estrenarse como escritor con El negro de Vargas Llosa (Ed. Pepitas y Los aciertos), novela bienhumorada que celebra la obra del autor peruano y que nos sirve de pretexto para comentar otras lecturas estimulantes. Luego se une Sergio C. Fanjul que, aprovechando que es fin de año, desarrolla una curiosa teoría acerca del final físico y material de los libros. Por su parte, Javier Lostalé e Ignacio Elguero siguen dando ideas a los oyentes para redactar la carta a los Reyes Magos, proponiendo los poemarios:Parir el alba, antología de Gioconda Belli publicada con motivo del Premio Reina Sofía de Poesía Iberoamericana, Ni la sal ni el aceite han de faltarme (Ed. Renacimiento), la elegía de Vicente Gallego a su amigo Francisco Brines, y Rizoma (Ed.Mahalta), de Efi Cubero. También el ensayo sobre inteligencia artificial ¿Qué hacemos con los humanos? (Ed. Deusto), de César Antonio Molina y la edición de El retrato de Dorian Gray (Ed. Austral), de Oscar Wilde con ilustraciones de Marta Maldonado. Terminamos el programa -y el año- con Mariano Peyrou, que nos lee varios poemas que invitan a mirar hacia adelante y que han sido extraídos de los libros: El compañero de viaje, de Paul Celan, Extraña manera de estar viva (Ed.Mixtura), una antología de Miriam Reyes y Poemas y testimonios (Ed. Acantilado), de Safo en traducción de Aurora Luque.Escuchar audio

Böttiger, Helmutwww.deutschlandfunk.de, Büchermarkt

In 1995, Seamus Heaney was awarded the Nobel Prize in Literature. During his speech, he explained that the adequacy of lyric poetry spoke to the “‘temple inside our hearing' which the passage of the poem calls into being. It is an adequacy deriving from what Mandelstam called ‘the steadfastness of speech articulation,' from the resolution and independence which the entirely realized poem sponsors. It has as much to do with the energy released by linguistic fission and fusion, with the buoyancy generated by cadence and tone and rhyme and stanza, as it has to do with the poem's concerns or the poet's truthfulness. In fact, in lyric poetry, truthfulness becomes recognizable as a ring of truth within the medium itself. And it is the unappeasable pursuit of this note, a note tuned to its most extreme in Emily Dickinson and Paul Celan and orchestrated to its most opulent in John Keats, it is this which keeps the poet's ear straining to hear the totally persuasive voice behind all the other informing voices.” Ten years after his death, we continue to strain with Heaney to hear that pluralizing voice of radiant truth. “Seamus Heaney's Afterlives” is the subject of an upcoming conference held at Boston College between November 16th, 17th, and 18th, 2023. The four keynote lectures, along with interviews with contemporary poets influenced by Heaney, have been published in the latest issue of the Éire-Ireland: An Interdisciplinary Journal of Irish Studies. I am excited to speak with the organizer of this conference, Joseph Nugent, and the co-editor of Éire-Ireland, Vera Kreilkamp, about Heaney's continuing relevance, the conference, the special issue of the journal. Joseph Nugent is Professor of English at Boston College. Joe is the creator of the iPhone app, JoyceWays: Ulysses for You, and the website, The Dubliners Bookshelf. His teaching includes courses on the digital humanities, Joyce, and Irish studies, and he has written the eBook Digital Dubliners, as well as articles on manliness and representations of the Irish saint Colmcill and olfactory domestic identity in rural Ireland. Vera Kreilkamp is Professor of Irish Studies at Boston College. Vera is the co-editor of Éire-Ireland, and is the author of The Anglo-Irish Novel and the Big House (Syracuse University Press, 1998) and the museum catalogs Éireland (2003), Rural Ireland: The Inside Story (2012) and The Arts and Crafts Movement: Making It Irish (2016). Note: Around the 28-minute mark, I quote from Fintan O'Toole's commemoration of Seamus Heaney, originally published in the New York Review of Books, but the quotation did not record clearly. Here are the uncorrupted lines from O'Toole's article: “Poetry is language held taut by being stretched between the poles of competing desires. In Heaney's work, the tensions extend in many directions: the Wordsworthian Romantic at odds with the Joycean realist; the atheist in search of the miraculous; the world-ranging cosmopolitan with his little patch of remembered earth; the lover of the archaic who cannot escape the urgency of contemporary history.” John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In 1995, Seamus Heaney was awarded the Nobel Prize in Literature. During his speech, he explained that the adequacy of lyric poetry spoke to the “‘temple inside our hearing' which the passage of the poem calls into being. It is an adequacy deriving from what Mandelstam called ‘the steadfastness of speech articulation,' from the resolution and independence which the entirely realized poem sponsors. It has as much to do with the energy released by linguistic fission and fusion, with the buoyancy generated by cadence and tone and rhyme and stanza, as it has to do with the poem's concerns or the poet's truthfulness. In fact, in lyric poetry, truthfulness becomes recognizable as a ring of truth within the medium itself. And it is the unappeasable pursuit of this note, a note tuned to its most extreme in Emily Dickinson and Paul Celan and orchestrated to its most opulent in John Keats, it is this which keeps the poet's ear straining to hear the totally persuasive voice behind all the other informing voices.” Ten years after his death, we continue to strain with Heaney to hear that pluralizing voice of radiant truth. “Seamus Heaney's Afterlives” is the subject of an upcoming conference held at Boston College between November 16th, 17th, and 18th, 2023. The four keynote lectures, along with interviews with contemporary poets influenced by Heaney, have been published in the latest issue of the Éire-Ireland: An Interdisciplinary Journal of Irish Studies. I am excited to speak with the organizer of this conference, Joseph Nugent, and the co-editor of Éire-Ireland, Vera Kreilkamp, about Heaney's continuing relevance, the conference, the special issue of the journal. Joseph Nugent is Professor of English at Boston College. Joe is the creator of the iPhone app, JoyceWays: Ulysses for You, and the website, The Dubliners Bookshelf. His teaching includes courses on the digital humanities, Joyce, and Irish studies, and he has written the eBook Digital Dubliners, as well as articles on manliness and representations of the Irish saint Colmcill and olfactory domestic identity in rural Ireland. Vera Kreilkamp is Professor of Irish Studies at Boston College. Vera is the co-editor of Éire-Ireland, and is the author of The Anglo-Irish Novel and the Big House (Syracuse University Press, 1998) and the museum catalogs Éireland (2003), Rural Ireland: The Inside Story (2012) and The Arts and Crafts Movement: Making It Irish (2016). Note: Around the 28-minute mark, I quote from Fintan O'Toole's commemoration of Seamus Heaney, originally published in the New York Review of Books, but the quotation did not record clearly. Here are the uncorrupted lines from O'Toole's article: “Poetry is language held taut by being stretched between the poles of competing desires. In Heaney's work, the tensions extend in many directions: the Wordsworthian Romantic at odds with the Joycean realist; the atheist in search of the miraculous; the world-ranging cosmopolitan with his little patch of remembered earth; the lover of the archaic who cannot escape the urgency of contemporary history.” John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In 1995, Seamus Heaney was awarded the Nobel Prize in Literature. During his speech, he explained that the adequacy of lyric poetry spoke to the “‘temple inside our hearing' which the passage of the poem calls into being. It is an adequacy deriving from what Mandelstam called ‘the steadfastness of speech articulation,' from the resolution and independence which the entirely realized poem sponsors. It has as much to do with the energy released by linguistic fission and fusion, with the buoyancy generated by cadence and tone and rhyme and stanza, as it has to do with the poem's concerns or the poet's truthfulness. In fact, in lyric poetry, truthfulness becomes recognizable as a ring of truth within the medium itself. And it is the unappeasable pursuit of this note, a note tuned to its most extreme in Emily Dickinson and Paul Celan and orchestrated to its most opulent in John Keats, it is this which keeps the poet's ear straining to hear the totally persuasive voice behind all the other informing voices.” Ten years after his death, we continue to strain with Heaney to hear that pluralizing voice of radiant truth. “Seamus Heaney's Afterlives” is the subject of an upcoming conference held at Boston College between November 16th, 17th, and 18th, 2023. The four keynote lectures, along with interviews with contemporary poets influenced by Heaney, have been published in the latest issue of the Éire-Ireland: An Interdisciplinary Journal of Irish Studies. I am excited to speak with the organizer of this conference, Joseph Nugent, and the co-editor of Éire-Ireland, Vera Kreilkamp, about Heaney's continuing relevance, the conference, the special issue of the journal. Joseph Nugent is Professor of English at Boston College. Joe is the creator of the iPhone app, JoyceWays: Ulysses for You, and the website, The Dubliners Bookshelf. His teaching includes courses on the digital humanities, Joyce, and Irish studies, and he has written the eBook Digital Dubliners, as well as articles on manliness and representations of the Irish saint Colmcill and olfactory domestic identity in rural Ireland. Vera Kreilkamp is Professor of Irish Studies at Boston College. Vera is the co-editor of Éire-Ireland, and is the author of The Anglo-Irish Novel and the Big House (Syracuse University Press, 1998) and the museum catalogs Éireland (2003), Rural Ireland: The Inside Story (2012) and The Arts and Crafts Movement: Making It Irish (2016). Note: Around the 28-minute mark, I quote from Fintan O'Toole's commemoration of Seamus Heaney, originally published in the New York Review of Books, but the quotation did not record clearly. Here are the uncorrupted lines from O'Toole's article: “Poetry is language held taut by being stretched between the poles of competing desires. In Heaney's work, the tensions extend in many directions: the Wordsworthian Romantic at odds with the Joycean realist; the atheist in search of the miraculous; the world-ranging cosmopolitan with his little patch of remembered earth; the lover of the archaic who cannot escape the urgency of contemporary history.” John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

In 1995, Seamus Heaney was awarded the Nobel Prize in Literature. During his speech, he explained that the adequacy of lyric poetry spoke to the “‘temple inside our hearing' which the passage of the poem calls into being. It is an adequacy deriving from what Mandelstam called ‘the steadfastness of speech articulation,' from the resolution and independence which the entirely realized poem sponsors. It has as much to do with the energy released by linguistic fission and fusion, with the buoyancy generated by cadence and tone and rhyme and stanza, as it has to do with the poem's concerns or the poet's truthfulness. In fact, in lyric poetry, truthfulness becomes recognizable as a ring of truth within the medium itself. And it is the unappeasable pursuit of this note, a note tuned to its most extreme in Emily Dickinson and Paul Celan and orchestrated to its most opulent in John Keats, it is this which keeps the poet's ear straining to hear the totally persuasive voice behind all the other informing voices.” Ten years after his death, we continue to strain with Heaney to hear that pluralizing voice of radiant truth. “Seamus Heaney's Afterlives” is the subject of an upcoming conference held at Boston College between November 16th, 17th, and 18th, 2023. The four keynote lectures, along with interviews with contemporary poets influenced by Heaney, have been published in the latest issue of the Éire-Ireland: An Interdisciplinary Journal of Irish Studies. I am excited to speak with the organizer of this conference, Joseph Nugent, and the co-editor of Éire-Ireland, Vera Kreilkamp, about Heaney's continuing relevance, the conference, the special issue of the journal. Joseph Nugent is Professor of English at Boston College. Joe is the creator of the iPhone app, JoyceWays: Ulysses for You, and the website, The Dubliners Bookshelf. His teaching includes courses on the digital humanities, Joyce, and Irish studies, and he has written the eBook Digital Dubliners, as well as articles on manliness and representations of the Irish saint Colmcill and olfactory domestic identity in rural Ireland. Vera Kreilkamp is Professor of Irish Studies at Boston College. Vera is the co-editor of Éire-Ireland, and is the author of The Anglo-Irish Novel and the Big House (Syracuse University Press, 1998) and the museum catalogs Éireland (2003), Rural Ireland: The Inside Story (2012) and The Arts and Crafts Movement: Making It Irish (2016). Note: Around the 28-minute mark, I quote from Fintan O'Toole's commemoration of Seamus Heaney, originally published in the New York Review of Books, but the quotation did not record clearly. Here are the uncorrupted lines from O'Toole's article: “Poetry is language held taut by being stretched between the poles of competing desires. In Heaney's work, the tensions extend in many directions: the Wordsworthian Romantic at odds with the Joycean realist; the atheist in search of the miraculous; the world-ranging cosmopolitan with his little patch of remembered earth; the lover of the archaic who cannot escape the urgency of contemporary history.” John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In 1995, Seamus Heaney was awarded the Nobel Prize in Literature. During his speech, he explained that the adequacy of lyric poetry spoke to the “‘temple inside our hearing' which the passage of the poem calls into being. It is an adequacy deriving from what Mandelstam called ‘the steadfastness of speech articulation,' from the resolution and independence which the entirely realized poem sponsors. It has as much to do with the energy released by linguistic fission and fusion, with the buoyancy generated by cadence and tone and rhyme and stanza, as it has to do with the poem's concerns or the poet's truthfulness. In fact, in lyric poetry, truthfulness becomes recognizable as a ring of truth within the medium itself. And it is the unappeasable pursuit of this note, a note tuned to its most extreme in Emily Dickinson and Paul Celan and orchestrated to its most opulent in John Keats, it is this which keeps the poet's ear straining to hear the totally persuasive voice behind all the other informing voices.” Ten years after his death, we continue to strain with Heaney to hear that pluralizing voice of radiant truth. “Seamus Heaney's Afterlives” is the subject of an upcoming conference held at Boston College between November 16th, 17th, and 18th, 2023. The four keynote lectures, along with interviews with contemporary poets influenced by Heaney, have been published in the latest issue of the Éire-Ireland: An Interdisciplinary Journal of Irish Studies. I am excited to speak with the organizer of this conference, Joseph Nugent, and the co-editor of Éire-Ireland, Vera Kreilkamp, about Heaney's continuing relevance, the conference, the special issue of the journal. Joseph Nugent is Professor of English at Boston College. Joe is the creator of the iPhone app, JoyceWays: Ulysses for You, and the website, The Dubliners Bookshelf. His teaching includes courses on the digital humanities, Joyce, and Irish studies, and he has written the eBook Digital Dubliners, as well as articles on manliness and representations of the Irish saint Colmcill and olfactory domestic identity in rural Ireland. Vera Kreilkamp is Professor of Irish Studies at Boston College. Vera is the co-editor of Éire-Ireland, and is the author of The Anglo-Irish Novel and the Big House (Syracuse University Press, 1998) and the museum catalogs Éireland (2003), Rural Ireland: The Inside Story (2012) and The Arts and Crafts Movement: Making It Irish (2016). Note: Around the 28-minute mark, I quote from Fintan O'Toole's commemoration of Seamus Heaney, originally published in the New York Review of Books, but the quotation did not record clearly. Here are the uncorrupted lines from O'Toole's article: “Poetry is language held taut by being stretched between the poles of competing desires. In Heaney's work, the tensions extend in many directions: the Wordsworthian Romantic at odds with the Joycean realist; the atheist in search of the miraculous; the world-ranging cosmopolitan with his little patch of remembered earth; the lover of the archaic who cannot escape the urgency of contemporary history.” John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Today's poem is And the Beautiful by Paul Celan. The Slowdown is your daily poetry ritual. In this episode, guest host Shira Erlichman writes… “The work of today's poet, Paul Celan, was marked by genocide. This small poem by Celan reckons with what is brutally taken, what is lost. He doesn't offer us superficial answers to endless grief. He offers only questions. And I sense, inside the questions, the immense task of facing a violent and brutal world.” Celebrate the power of poems with a gift to The Slowdown today. Every donation makes a difference: https://tinyurl.com/rjm4synp

The London-based artist, master potter, and author Edmund de Waal has an astoundingly astute sense for the inner lives of objects. Each of his works, whether in clay or stone, is imbued with a certain alchemy, embodying traces of far-away or long-ago ancestors, ideas, and histories. This fall, two exhibitions featuring his artworks are on view at Gagosian in New York (through October 28): “to light, and then return,” which pairs his pieces with tintypes and platinum prints by Sally Mann, and “this must be the place,” a solo presentation displaying his porcelain vessels poetically arranged in vitrines, as well as stone benches carved from marble. As respected for his writing as he is for his pots, de Waal is the author of 20th Century Ceramics (2003), The Pot Book (2011), The White Road (2015), Letters to Camondo (2021), and, perhaps most notably, the New York Times bestseller The Hare with Amber Eyes (2010). All that de Waal does is part of one long continuum: He views his pots and texts as a single, rigorously sculpted body of work and ongoing conversation across time.On this episode, de Waal talks about his infatuation with Japan, his affinity for the life and work of the Japanese-American artist Isamu Noguchi (1904-1988), and the roles of rhythm and breath in his work.Special thanks to our Season 8 sponsor, Van Cleef & Arpels.Show notes: [00:28] Edmund de Waal[03:43] Paul Celan[08:12] 2023 Isamu Noguchi Award[08:17] Gagosian[08:20] “this must be the place” [08:22] “to light, and then return”[09:09] Twentieth-Century Ceramics[09:20] The Pot Book[18:23] “Letters to Camondo” Exhibition[20:32] Sally Mann[20:48] The Hare with Amber Eyes[28:00] “The Hare with Amber Eyes” Exhibition[30:56] “Playing with Fire: Edmund de Waal and Axel Salto” Exhibition[40:24] Dr. Sen no Sōshitsu[52:48] The White Road[52:49] Letters to Camondo[01:06:33] In Memory Of: Designing Contemporary Memorials

One of the world's most acclaimed ceramicists, Edmund de Waal is renowned for simple, hand-made porcelain pots and bowls which are usually displayed in meticulously arranged groups. His work has been shown in museums and galleries including the V&A, the British Museum, the Frick in New York, and at the Venice Biennale. In 2010 Edmund de Waal became widely known as a bestselling author, after the publication of his family memoir The Hare With Amber Eyes which retraced his Jewish European heritage. A dramatic and tragic story about art, exile and survival, it led him on a journey from Tokyo to Odessa via 19th century Paris and Nazi occupied Vienna. On This Cultural Life, Edmund de Waal tells John Wilson about being taken to a pottery class at the age of five by his father, an Anglican cleric who worked at Lincoln Cathedral. He immediately fell in love with the process of moulding wet clay into vessels and was determined to become a potter. After leaving school he spent five months in Japan studying the ancient traditions of pottery with various master ceramicists. He remembers how a visit to the Ryoan-ji Temple in Kyoto had a huge impact on his understanding of space, contemplation and spirituality. During his first visit to Japan he also met his great uncle Ignatius Ephrussi from whom Edmund first learned about his European Jewish heritage, his family's exile from Vienna in the face of Nazi terror, and the collection of small Japanese figurines, known as netsuke, whose story was told in The Hare With Amber Eyes. Edmund chooses the ceramicist Lucie Rie, another Viennese exile in London, as a major influence on his practise. He describes his working routine in the ceramics studio, and how his pots are often made in response to poetry, citing the work of Romanian-born Paul Celan an American poet Emily Dickinson as particular influences. Producer: Edwina Pitman

durée : 00:25:23 - Le Feuilleton - "C'est de nous qu'il faut que je parle. Il est inadmissible que toi et moi nous nous manquions encore une fois, cela m'anéantirait."